the causes and effects of physicality

These workshops are experiential pathways designed to increase the actor’s physical vocabulary. It is practice-based training that heightens the actor’s sensory awareness, sensitivity and responsiveness to stimuli whilst also exploring the expressive potentials of the body.

Central to my methodology is the investigation into the embodiment of a character. The work concentrates on two main aspects: firstly the actor’s intuitive body being the primary source of creation; and secondly, the development of a physical memory that can retrieve improvised discoveries, to build an authentic and sustainable physicality.

The journey of this investigation begins with pre-expressive movement training and the actor’s neutral body, moving on to explore expressive masks, and finally to character immersion without the mask.

These workshops are an opportunity for an actor to increase their physical self-knowledge as well as exploring how they are affected by differing physicality’s, and experience what other body’s feel. For example: the effects of a particular alignment, the placement of isolated body parts, a particular rhythm, a change in the body’s center, the placement of the breath, a particular flow, a direction in space, and how any of these components can affect the actor emotionally and mentally.

The outside (physicality) feeds the inside (our emotions, our thoughts) and vice versa. We also explore how specific external and internal conditions (i.e. a person’s circumstances and internal make up) influence a person’s physicality, and in what way these conditions are reflected through the body and its movement.

I don’t teach mask theatre as many schools in Europe do. In these workshops the expressive mask is used as a powerful tool for the actor to discover the potential of their body and its creative expression. There is no set character behaviour, story, or expectation, what emerges will depend on who is wearing the mask. The actor follows their impulses and intuitive body to enter the mask, they are transported into the world of the mask and are transformed.

Ultimately, these workshops provide pathways for the actor to enrich characterisation through physical embodiment rather than by analytical means.